Films featuring varying levels of obvious and less obvious homoeroticism.
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Blown away. I can't believe that this movie exists and that I hadn't seen it until now and that it achieves as much perfection as it does in under 90 minutes. This is absolutely essential viewing for any fans of film noir and particularly for anyone interested in the femme fatale as a symbolic cinematic figure. It's also the first time I've really been bowled over like this since I discovered and fell in love with The Conformist back in May. Anyway:
"My mother always listened sympathetically to my dreams of a career. Men taught me another recipe."
Laura (Gene Tierney) is dead. Shot in the face with a shotgun. Detective McPherson (Dana Andrews) is on the case, and he's…
Part of my War Years Challenge
Ah, film noir. If you are a fan, this film is a pure delight, winner of the Oscar for Best Cinematography, Black & White and nominated for four additional Academy Awards, including Best Screenplay and Art Direction. Otto Preminger was shortlisted for the Best Director Oscar, while Clifton Webb was named among the nominees for Best Supporting Actor. It's a case study in the making a masterful monochromatic mystery.
Dana Andrews plays police detective Lieutenant Mark McPherson, assigned to investigate the shotgun murder of advertising executive Laura Hunt (Gene Tierney). She was apparently killed in her apartment on a Friday night, and over the weekend her friend Ann Treadwell (Judith Anderson) identifies the faceless body,…
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
Otto Preminger's "Laura" is an engaging murder mystery whose gender politics help it make compelling social commentary. That commentary never bubbles clearly to the top, however, creating an interesting subtext beneath the noir tropes at work in Preminger's gripping and satisfying drama.
Dana Andrews stars as a detective investigating the murder of Gene Tierney's Laura. Laura, the object of affection of two different men, soon becomes the object the detective's affection as well; though, he only knows her through her portrait and the stories told by those who knew her. The narrative moves down a twisty path, revealing truths that make the story memorable.
Under the front-and-center detective tale, lurks the story of a woman who lives, perhaps even dies,…
Good Preminger, but nothin' beats Jimmy Stewart sayin' "Panties" in Anatomy of a Murder.
Forever questioning the presence of clocks.
"I just dropped in to inquire about the state of your health. Insipid I hope."
Main title and character name are one, the text of which appears over a portrait of the very same/ subject of idealization. Subsequent shot collides smoothly and is of an ornate piece of historical artwork displayed in a character's home, representing another female subject. Nameless and generic in universal terms.
Noir but not shrouded in shadow, rather deep focus clear-eyed and central mystery revealed as some level of misunderstanding and later motivations are revealed as petty psychological projection.
Waldo Lydecker's aggressive judgement in particular undergo a sudden shift toward a neediness, (reminding me of the hidden and plainly visible vulnerabilities of Max Von Sydow's artist character in Allen's "Hannah and Her Sisters") the presence of a hinge that connects the two is not so much a surprise as is the volume and pitch of each emotional extremity.
Did Hitchcock do a perverse remake of this in VERTIGO?
Also, is this a satire of upper class society?
This review may contain spoilers. I can handle the truth.
My boy Otto Preminger man! Third film of his I've seen and third absolutely fantastic picture!
Laura is the story of a murder. Kind of. It's kind of a complicated story actually - there are quite a few major characters (for it's short length) and the story kind of wiggles it's way through a couple of different modes and themes. It starts and you think it's just a detective story, looking for a murderer - the murderer of the titular Laura. But then it morphs - we see the detective fall in love with Laura, and then (SPOILER ALERT) BANG - Laura walks through the door! And I didn't know this was going to happen - and I'm glad. I…
This was quite terrific, a meditation on the obsession of three men with a single woman, the ad woman Laura. There's the genteel, implicitly homosexual Waldo (the marvelous Clifton Webb, soul of the film), who crafts her as his Galatea and becomes demanding and possessive. There's her slimy, parasitic fiancé Shelby (Vincent Price, well-cast and the best I've seen him), who worships her looks almost as much as her assets. And then there's McPherson (Dana Andrews, in a strong performance), a detective who always seems on the edge of boiling over, and slowly becomes obsessed with Laura while investigating her murder.
And what of Laura (Gene Tierney, bewitching) herself? She might seem like a strange choice for a femme fatale…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…